One of the distinguishing features of the 2005 cinematic adaptation of Pride and Prejudice is its dynamic quality of character and camera movement. The dynamism of movements within doors challenges the dialectic of immobility/mobility and indoor/outdoor that characterizes analysis of movement and space in previous adaptations of Jane Austen. In the 2005 film Pride & Prejudice, activities as simple as walking through the house or circling on the dance floor constitute a kinesthetic language for making interior spaces visible in temporal and spatial terms. Instead of inferring Elizabeth Bennet's desires, we see them actualized in the same way that domestic life is constructed in the Bennet home—through repetitive and circular movements that straddle the divide between the concrete and the abstract. Mining the creative tension between physical movement and narrative movement, the film shows how interiority is a product of the material and relational conditions of everyday life. Hence my examination of movement does not simply bring attention to an everyday reality foregrounded in the film but makes visible the sense of process or becoming that is essential to the notion of the everyday.

The text of this article is only available as a PDF.
You do not currently have access to this content.